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((Short description|Echo-like effect))
((Multiple image
|direction=vertical
|image1=Boss-dd-3-digital-delay-306606.jpg
|caption1=A [[Boss Corporation|Boss]] digital delay pedal
))

'''Delay''' is an [[audio signal processing]] technique that records an input signal to a storage medium and then plays it back after a period of time. When the delayed playback is [[electronic mixer|mixed]] with the live audio, it creates an [[echo]]-like effect, whereby the original audio is heard followed by the delayed audio. The delayed signal may be played back multiple times, or fed back into the recording, to create the sound of a repeating, decaying echo.<ref>((cite web |last=Lehman |first=Scott |title=Effects Explained: Delay |date=1996 |url=http://www.harmony-central.com/Effects/Articles/Delay/ |url-status=usurped |archive-url=https://web.archive.org/web/20030402004518/http://www.harmony-central.com/Effects/Articles/Delay/ |archive-date=2003-04-02))</ref>

Delay effects range from a subtle echo effect to a pronounced blending of previous sounds with new sounds. Delay effects can be created using [[tape loop]]s, an approach developed in the 1940s and 1950s and used by artists including [[Elvis Presley]] and [[Buddy Holly]].

Analog effects units were introduced in the 1970s; digital effects pedals in 1984; and [[audio plug-in]] software in the 2000s.

==History==
The first delay effects were achieved using [[tape loop]]s improvised on [[reel-to-reel audio tape recording]] systems. By shortening or lengthening the loop of tape and adjusting the [[tape head|read-and-write heads]], the nature of the delayed echo could be controlled. This technique was most common among early composers of ''[[musique concrète]]'' such as [[Pierre Schaeffer]], and composers such as [[Karlheinz Stockhausen]], who had sometimes devised elaborate systems involving long tapes and multiple recorders and playback systems, collectively processing the input of a live performer or ensemble.<ref>((citation |last=Gehlaar |first=Rolf |title=Leap of Faith: A Personal Biography of Karlheinz Stockhausen's Prozession |date=1998 |url=https://www.sonoloco.com/rev/stockhausen/11gehlhaar.html))</ref>

American producer [[Sam Phillips]] created a [[#Slapback echo|slapback echo]] effect with two [[Ampex]] 350 tape recorders in 1954.<ref name=":2">((cite web |title=Sam Phillips: Sun Records |website=[[Sound on Sound]] |url=https://www.soundonsound.com/people/sam-phillips-sun-records |access-date=2021-06-12 |url-status=live |archive-url=https://web.archive.org/web/20180129195227/https://www.soundonsound.com/people/sam-phillips-sun-records |archive-date=2018-01-29))</ref><ref name=":3">((cite web |last=Blitz |first=Matt |date=2016-08-15 |title=How Sam Phillips invented the sound of rock and roll |website=[[Popular Mechanics]] |language=en-US |url=https://www.popularmechanics.com/culture/music/a22237/sam-phillips-sun-studio/ |access-date=2021-06-12 |url-status=live |archive-url=https://web.archive.org/web/20160818030637/http://www.popularmechanics.com:80/culture/music/a22237/sam-phillips-sun-studio/ |archive-date=2016-08-18))</ref> The effect was used by artists including [[Elvis Presley]] (such as on his track "[[Blue Moon of Kentucky]]") and [[Buddy Holly]],<ref name="Ultimate">((cite web |date=7 June 2011 |title=The ultimate guide to effects: delay |website=[[MusicRadar]] |language=en |url=https://www.musicradar.com/tuition/tech/the-ultimate-guide-to-effects-delay-457920 |access-date=2021-06-12 |url-status=live |archive-url=https://web.archive.org/web/20150908115304/http://www.musicradar.com/tuition/tech/the-ultimate-guide-to-effects-delay-457920 |archive-date=2015-09-08))</ref> and became one of Phillips' signatures.<ref name=":3"/> Guitarist and instrument designer [[Les Paul]] was an early pioneer in delay devices.<ref name="Dregni">((cite web |last=Dregni |first=Michael |title=The Roland Space Echo |url=https://www.vintageguitar.com/21260/the-roland-space-echo/ |url-status=dead |archive-url=https://web.archive.org/web/20150905055122/http://www.vintageguitar.com/21260/the-roland-space-echo/ |archive-date=2015-09-05 |access-date=2021-06-13 |website=[[Vintage Guitar (magazine) |Vintage Guitar]] |language=en-US))</ref><ref>((cite web |last=Meeker |first=Ward |title=Les Paul Remembered |website=[[Vintage Guitar (magazine) |Vintage Guitar]] |language=en-US |url=https://www.vintageguitar.com/17980/les-paul-remembered/ |access-date=2021-06-13 |url-status=live |archive-url=https://web.archive.org/web/20140910151002/http://www.vintageguitar.com/17980/les-paul-remembered/ |archive-date=2014-09-10))</ref> According to ''[[Sound on Sound]]'', "The character and depth of sound that was produced from tape echo on these old records is extremely lush, warm and wide."<ref name=":1">((cite web |last=Haas |first=Will |date=August 2007 |title=Tape delay in your DAW |website=[[Sound on Sound]] |url=https://www.soundonsound.com/techniques/tape-delay-your-daw |access-date=2021-06-12 |url-status=live |archive-url=https://web.archive.org/web/20170512162243/http://www.soundonsound.com:80/techniques/tape-delay-your-daw |archive-date=2017-05-12))</ref>

[[File:RE201 Transport.JPG|thumb|The tape mechanism of a [[Roland RE-201]] delay unit]]
Tape echoes became commercially available in the 1950s.<ref name=dregni>((cite news |title=Echoplex EP-2 |last=Dregni |first=Michael |date=July 2012 |work=[[Vintage Guitar (magazine) |Vintage Guitar]] |pages=54–56))</ref> Tape echo machines contain loops of tape that pass over a record head and then a playback head. An '''echo machine''' is the early name for a sound processing device used with electronic instruments to repeat the sound and produce a simulated echo.  The time between echo repeats was adjusted by varying head position or tape speed. The length or intensity of the echo effect was adjusted by changing the amount of echo signal was fed back into the signal recorded to tape.<ref>((cite book |last=Milano |first=Dominic |title=Multi-Track Recording |publisher=Hal Leonard |year=1988 |page=37 |url=https://books.google.com/books?id=flNjvqwwCAgC&pg=PA37 |isbn=978-0-88188-552-1))</ref>

A landmark device was the [[Ray Butts EchoSonic|EchoSonic]] made by American [[Ray Butts]]. It is a portable guitar amplifier with a built-in tape echo, which became used widely in country music ([[Chet Atkins]]) and especially in rock and roll ([[Scotty Moore]]).<ref>((cite news |title=The Ray Butts EchoSonic |last=Hunter |first=Dave |date=April 2012 |work=[[Vintage Guitar (magazine) |Vintage Guitar]] |pages=46–48))</ref>

Dedicated machines for creating tape loops were introduced One example is the [[Echoplex]] which uses a tape loop.  The length of delay is adjusted by changing the distance between the tape record and playback heads.  Another is the [[Ace Tone]] EC-1 Echo Chamber.<ref>((citation
|title = Ace Tone Catalog 1969
|year = 1969
|page = 16
|publisher = Sorkin/Ace Tone
|url = http://organ69.net/pdf/acetone1969.pdf
|url-status = dead
|archive-url = https://web.archive.org/web/20140512232101/http://organ69.net/pdf/acetone1969.pdf
|archive-date = 2014-05-12
))</ref>

With the [[Roland RE-201]], introduced in 1973, Japanese engineer [[Ikutaro Kakehashi]] refined the tape delay to make it more reliable and robust, with reduced tape wear and noise, [[wow (recording)|wow]], and [[flutter (electronics and communication)|flutter]], additional controls, and additional tape heads. Different effects could be created by enabling different combinations of playback heads. By adjusting the controls and tape speed, musicians could create [[pitch-shifting]] and oscillated effects. The RE-201 was used by acts including [[Brian Setzer]], [[Bob Marley]], [[Portishead (band)|Portishead]], and [[Radiohead]].<ref name="Dregni"/>

In the 1970s, Jamaican [[dub music|dub reggae]] producers used delay effects extensively; [[Lee "Scratch" Perry|Lee Scratch Perry]] created "lo-fi sci-fi" effects by using delay and [[reverb effect|reverb]] on a mixing console [[test tone]] and [[dub techno]] producers such as [[Basic Channel]] introduced delay to [[electronic music]].<ref>((cite web |date=2020-08-20 |title=Creating dub delays with standard plugins |url=https://www.attackmagazine.com/technique/tutorials/creating-dub-delays-with-standard-plugins/ |url-status=live |access-date=2021-06-13 |website=Attack Magazine |language=en-US |archive-url=https://web.archive.org/web/20201022171515/https://www.attackmagazine.com/technique/tutorials/creating-dub-delays-with-standard-plugins/ |archive-date=2020-10-22))</ref> Digital delay effects were developed with the arrival of [[digital recording]].<ref name="Ultimate"/>

==Analog delay==
[[File:Maestro Echoplex EP-2.jpg|thumb|Echoplex EP-2]]

Before the invention of audio delay technology, music employing an echo had to be recorded in a naturally [[Reverberation|reverberant]] space, often an inconvenience for musicians and engineers. The demand for an easy-to-use real-time echo effect led to the production of systems offering an all-in-one [[effects unit]] that could be adjusted to produce echoes of any interval or amplitude. The presence of multiple ''taps'' ([[tape head|playback heads]]) made it possible to have delays at varying rhythmic intervals; this allowed musicians an additional means of expression over natural periodic echoes.

===Tape delay===
Early experiments such as [[send tape echo echo delay]] (STEED) at [[Abbey Road Studios]] used standard and modified [[reel-to-reel tape recorder]]s to produce  delay.

Delay processors based on analog tape recording use [[magnetic tape]] as their recording and playback medium. Electric motors guide a tape loop through a device with a variety of mechanisms allowing modification of the effect's parameters.<ref>[https://www.vintagesynth.com/roland/re201.php "RE-201 Space Echo", ''Vintage Synth Explorer''. 1997.] Retrieved on July 30, 2006.</ref> Popular models include Ray Butts' [[Ray Butts EchoSonic|EchoSonic]] (1952), the [[Watkins Copicat]] (1958), <ref>((cite web |title=NAMM Oral History Interviews: Charles Watkins |url=https://www.namm.org/library/oral-history/charles-watkins |website=NAMM.org |publisher=NAMM |date=16 May 2008 |access-date=31 January 2022))</ref><ref>((cite web |last=Inglis |first=Sam |title=Wavesfactory Echo Cat |url=https://www.soundonsound.com/reviews/wavesfactory-echo-cat |website=soundonsound.com |publisher=SOS Publications Group |date=February 2021 |access-date=31 January 2022))</ref> the [[Echoplex]] (1959)<ref name="dregni" /> and the [[Roland Space Echo]] (1974).<ref name="Dregni2">((cite web |last=Dregni |first=Michael |date=December 2014 |title=The Roland Space Echo |url=https://www.vintageguitar.com/21260/the-roland-space-echo/ |url-status=dead |archive-url=https://web.archive.org/web/20150905055122/http://www.vintageguitar.com/21260/the-roland-space-echo/ |archive-date=2015-09-05 |access-date=2021-06-13 |website=[[Vintage Guitar (magazine)|Vintage Guitar]] |language=en-US))</ref>

In the Echoplex EP-2, the play head position was fixed, while a combination record and erase head was mounted on a slide, thus the delay time of the echo was adjusted by changing the distance between the record and play heads.((Cn|date=April 2023)) 

The Space Echo uses a free-running [[tape transport]] system to reduce tape wear, noise, and [[Wow (recording)|wow and flutter]], and made the units more reliable and easy to transport.<ref name="Dregni3">((cite web |last=Dregni |first=Michael |date=December 2014 |title=The Roland Space Echo |url=https://www.vintageguitar.com/21260/the-roland-space-echo/ |url-status=dead |archive-url=https://web.archive.org/web/20150905055122/http://www.vintageguitar.com/21260/the-roland-space-echo/ |archive-date=2015-09-05 |access-date=2021-06-13 |website=[[Vintage Guitar (magazine)|Vintage Guitar]] |language=en-US))</ref> It was more reliable and sturdy than previous tape echo devices, making it easy to travel and perform with.<ref name="Dregni3" /> It has been used by musicians in genres such as [[reggae]], [[Dub music|dub]], [[trip hop]], [[post-punk]] and [[experimental rock]].<ref name="Dregni3" /><ref>((Cite web |last=Brakes |first=Rod |date=2022-03-24 |title=Boss Enters a New Age of Space Echo with the RE-2 and RE-202 |url=https://www.guitarplayer.com/news/boss-enters-a-new-age-of-space-echo-with-the-re-2-and-re-202 |access-date=2023-04-02 |website=[[Guitar Player]] |language=en))</ref>

Thin magnetic tape was not entirely suited for continuous operation, however, so the tape loop has to be replaced from time to time to maintain the [[High fidelity|audio fidelity]] of the processed sounds. The [[Binson Echorec]] used a rotating magnetic drum or disc (not entirely unlike those used in modern [[hard disk|hard-disk drives]]) as its storage medium. This provided an advantage over tape, as the durable drums were able to last for many years with little deterioration in the audio quality.<ref>((cite web |last=Studholme |first=Richard |title=A brief History |url=http://www.binson.com/#/history/4519462885 |url-status=usurped |archive-url=https://web.archive.org/web/20071020153055/http://binson.com/history/4519462885 |archive-date=2007-10-20))</ref> In later years, tape delay effects remained popular for the way the tape compresses and distorts, "creating the impression that the echoes are receding rather than just getting quieter".<ref name="White-2007">((Cite web |last=White |first=Paul |date=October 2007 |title=Boss RE20 |url=https://www.soundonsound.com/reviews/guitar-technology-9 |access-date=2023-04-02 |website=[[Sound on Sound]] |publisher=SOS Publications Group))</ref>

===Oil can===
An alternative echo system was the so-called ''oil-can delay'' method, which uses electrostatic rather than electromagnetic recording.<ref name="modd3d">
((cite web
|url=http://www.modd3d.com/articles/item/oil-can-delays
|title=Oil Can Delays
|author=Scott
|date=2007-08-11
|access-date=2018-08-04
))</ref>

Invented by [[Ray Lubow]], the oil-can method uses a rotating disc of anodized aluminium coated with a suspension of carbon particles. An AC signal to a conductive neoprene wiper transfers the charge to the high impedance disc. As the particles pass by the wiper, they act as thousands of tiny capacitors, holding a small part of the charge. A second wiper reads this representation of the signal, and sends it to a voltage amplifier that mixes it with the original source. To protect the charge held by the particles and to lubricate the entire assembly, the disc runs inside a sealed can with enough of a special [[Insulator (electricity)|insulating]] oil((efn|Union Carbide UCON lb65<ref name="modd3d"/>)) to assure that an even coating is applied as it spins.<ref>((cite patent
|country	= US
|number	= 2892898
|status	=
|title		= Delay apparatus
|pubdate	=
|gdate		=
|fdate		= February 21, 1958
|pridate	=
|inventor	= Raymond Lubow
|invent1	=
|invent2	=
|assign1	=
|assign2	=
|class		=
|url		= https://patents.google.com/patent/US2892898?oq=patent:2892898
))</ref><ref>((cite web |author=R.G. Keen |title=The Technology of Oil Can Delays |url=http://www.geofex.com/Article_Folders/oil_can_delays.htm |access-date=2021-02-15))</ref>

The effect resembles an echo, but the whimsical nature of the storage medium causes variations in the sound that can be heard as a vibrato effect. Some early models featured control circuitry designed to feed the output of the read wiper to the write wiper, causing a reverberant effect as well.

Many different companies marketed these devices under various names. Fender sold the Dimension IV, the Variable Delay, the Echo-Reverb I, II, and III, and included an oil can in their Special Effects box. Gibson sold the GA-4RE from 1965–67. Ray Lubow himself sold many different versions under the Tel-Ray/Morley brand, starting out in the early sixties with the Ad-n-echo, and eventually producing the Echo-ver-brato, the Electrostatic Delay Line, and many others into the eighties.

===Solid-state delay===
[[File:First-Analog-Delay-for-Guitars-1976.gif|thumb|1976 analog solid-state delay schematic]]

The [[bucket-brigade device]]s (BBD) was developed at Philips in 1969. Delay effects utilizing this technology eventually became available. Notable examples include the Memory Man from Electro-Harmonix, released in 1976 and the Boss DM-2 released in 1981. BBD-based devices offered a convenient alternative to tape delays and [[leslie speaker]]s but were eventually largely supplanted by digital delays.<ref name="musicradar">((cite web |url=https://www.musicradar.com/news/a-brief-history-of-bucket-brigade-delays-and-4-great-plugin-emulations |title=A brief history of bucket-brigade delays |access-date=2022-10-17))</ref>

==Digital delay==
[[File:Ibanez de7.jpg|thumb|An [[Ibanez]] DE-7 delay pedal]]
[[File:Analog_delay_on_guitar_with_modulation_and_pitch_shift.ogg|thumb|Sound example of a [[plug-in (computing)|plugin]] simulation of an analog delay (EHX Memory Man) with modulation and pitch shift]]

Digital delay systems function by sampling the input signal using an [[analog-to-digital converter]]. The resulting digital audio is passed through a [[memory buffer]] and recalled from the buffer a short time later. Through [[feedback]] of some of the delayed audio back into the buffer, multiple repeats of the audio are created.<ref name=":42">((cite web |last=Smith |first=Geoff |date=May 2012 |title=Creating and using custom delay effects |url=https://www.soundonsound.com/techniques/creating-using-custom-delay-effects |url-status=live |access-date=2021-06-13 |website=[[Sound on Sound]] |archive-url=https://web.archive.org/web/20160628103721/http://www.soundonsound.com:80/techniques/creating-using-custom-delay-effects |archive-date=2016-06-28))</ref>((efn|High levels of feedback can cause the level of the output to rapidly increase (self-oscillation), becoming louder and louder; this may be managed with [[limiter]]s.)) The delayed (''wet'') output may be mixed with the unmodified (''dry'') signal after, or before, it is sent to a [[digital-to-analog converter]] for output.

Digital delay effects were initially available as expensive rack-mounted units intended for use in television and audio production studios. One of the first was the [[Eventide, Inc|Eventide]] DDL 1745 from 1971.<ref>((cite web |url=https://www.eventideaudio.com/blog/aagnello/50th-flashback-21-ddl-1745-delay |title=50th Flashback #2.1: The DDL Digital Delay |access-date=2021-05-13))</ref> Another popular rack-mount digital delay was the [[AMS (Advanced Music Systems)|AMS]] DMX 15-80 of 1978.<ref>((cite web |url=https://www.vintagedigital.com.au/ams-dmx-15-80s-computer-controlled-stereo-digital-delay/ |title=AMS DMX 15-80s Stereo Digital Delay |access-date=2019-06-26))</ref> As digital memory became cheaper in the 1980s, units like [[Lexicon (company)|Lexicon]] PCM42, [[Roland Corporation|Roland]] SDE-3000, [[TC Electronic]] 2290 offered more than three seconds of delay time, enough to create background loops, rhythms, and phrases. The 2290 was upgradeable to 32 seconds and [[Electro-Harmonix]] offered a 16-second delay and looping machine. Eventually, as costs came down further and the electronics grew smaller, they became available in the form of foot pedals. The first digital delay offered in a pedal was the [[Boss Corporation|Boss]] DD-2 in 1984. Rack-mounted delay units evolved into digital reverb units and on to digital multi-effects units capable of more sophisticated effects than pure delay, such as reverb and [[audio time stretching and pitch scaling]] effects.

Digital delays present an extensive array of options, including control over the time before playback of the delayed signal. Most also allow the user to select the overall level of the processed signal in relation to the unmodified one, or the level at which the delayed signal is fed back into the memory, to be repeated again. Some systems allow more exotic controls, such as the ability to add an [[audio filter]] and modulate the playback rate.

==Looping==
((See also|Loop (music)|Live looping))
[[File:Gibson Echoplex Digital Pro.jpg|left|thumb|Gibson Echoplex Digital Pro]]

While the early delay units with a long delay capacity could be used to record a [[riff]] or [[chord progression]] and then play over it, they were challenging to work with. The Paradis Loop Delay,<ref>((cite web |title=Paradis Loop Delay |url=https://loopers-delight.com/tools/LoopDelay/paradis.html |publisher=Loopers-Delight.com))</ref> created in 1992, was the first unit with dedicated looping functions such as record, overdub, multiply, insert, and replace, which made it more intuitive and user-friendly. [[Gibson Guitar Corporation|Gibson]] manufactured a slightly improved version as the Echoplex Digital Pro<ref>((cite web |title=How the Gibson / Oberheim Echoplex Came Together |url=https://loopers-delight.com/tools/echoplex/OBechoplexhistory.html |author=Matthias Grob |publisher=Loopers-Delight.com))</ref> until 2006.

==Computer software==
[[File:Analog delay on guitar with modulation and pitch shift.ogg|thumb|Sound example of a [[plug-in (computing)|plugin]] simulation of an analog delay (EHX Memory Man) with modulation and pitch shift on [[IK Multimedia|Amplitube]] 4.]]
[[File:Screenshot-Delayorama.png|right|thumb|Steve Harris' Delayorama software]]

A natural development from digital delay-processing hardware was the appearance of [[software]]-based delay systems. In large part, this coincided with the popularity of audio editing software. Software delays, in many cases, offer much greater flexibility than even the most recent digital hardware delays. Software implementations may offer shifting or random delay times, or the insertion of other audio effects in the feedback path. Many [[plug-in (computing)|software plugins]] have added functionality to emulate the sounds of the earlier analog units. Abundant [[main memory]] on modern personal computers offers ample delay time.

==Artistic uses==
In popular and electronic music, electric guitarists use delay to produce densely overlaid textures of notes with rhythms complementary to the music. [[U2]] guitarist [[the Edge]] uses delay while he plays arpeggios on electric guitar, thus creating a sustained, synth pad-like background.<ref name="imgl">((cite video|people=The Edge, [[Davis Guggenheim]] (director)|title=[[It Might Get Loud]]|medium=film|publisher=[[Sony Pictures Classics]]|date=2008))</ref> Vocalists and instrumentalists use delay to add a dense or ethereal quality to their singing or playing. Extremely long delays of 10 seconds or more are often used to create loops of a whole musical phrase. [[Robert Fripp]] used two [[Revox]] reel-to-reel tape recorders to achieve very long delay times for solo guitar performance.  He dubbed this technology  "[[Frippertronics]]", and used it in a number of recordings.<ref>((Cite web |date=2022-08-06 |title=Frippertronics: how Robert Fripp and Brian Eno brought looping to life |url=https://happymag.tv/frippertronics/ |access-date=2022-09-09 |website=Happy Mag |language=en-US))</ref>

[[John Martyn]] was a pioneer of the echoplex. Perhaps the earliest indication of his use can be heard on the songs "Would You Believe Me" and "The Ocean" on the album ''[[Stormbringer!]]'' released in February 1970.

==Function==
[[File:Delay-line_block_diagram.png|thumb|Block diagram of the signal-flow for a typical simple delay-line, tied to an electric guitar. Dotted line indicates options component.<ref>((cite book |author=Hodgson, Jay |title=Understanding Records |year=2010 |isbn=978-1-4411-5607-5 |page=124))</ref>]]

Delay effects add a time delay to an [[audio signal]]. Blending the delayed audio with the original audio creates an [[echo]]-like effect, whereby the original audio is heard followed by the delayed audio.<ref name="Ultimate"/> The delayed signal may be treated separately from the input audio - for example, with an [[equalization (audio)|equalizer]].<ref name=":4"/>

Most delay effects allow users to set the delay time, or the amount of time between each audio playback. The may be synchronized to a [[beats per minute|BPM]], allowing users to set time values as [[beat division]]s. Delay is used to create other effects, including reverb, [[chorus effect|chorus]], and [[flanging]].<ref name="Ultimate"/>

Delay effects typically allow users to add and adjust [[feedback]]. By feeding some of the delayed audio back into the delay mechanism, multiple repeats of the audio are heard. At low feedback settings, each repeat fades in volume. High levels of feedback can cause the level of the output to rapidly increase, becoming louder and louder; this may be managed using a [[limiter]].

===Haas effect===
Short delays (50&nbsp;ms or less) create a sense of ''broadening'' the sound without creating a perceptible echo and can be used to add [[stereo width]] or simulate [[double-tracking]] (layering two performances).<ref name=":4">((cite web |last=Smith |first=Geoff |date=May 2012 |title=Creating and using custom delay effects |url=https://www.soundonsound.com/techniques/creating-using-custom-delay-effects |url-status=live |access-date=2021-06-13 |website=[[Sound on Sound]] |archive-url=https://web.archive.org/web/20160628103721/http://www.soundonsound.com:80/techniques/creating-using-custom-delay-effects |archive-date=2016-06-28))</ref> The effect is known as the [[precedence effect]] or Haas effect, after the German scientist Helmut Haas.<ref name=":4"/>

===Ping-pong delay===
In a ping-pong delay, the delayed signal alternates between the two channels of a [[stereo]] program.<ref name=":4"/>

===Multi-tap===
In a multi-tap delay, multiple ''taps'' (outputs) are taken from a delay buffer, each with independent times and levels, and summed with the original signal.<ref name="Ultimate"/><ref name=":4"/> Multi-tap delays can be used to create rhythmic patterns or dense, [[reverb effect|reverb]]-like effects.<ref name=":4"/>

===Doubling echo===
''Doubling echo'' is produced by adding short delay to a recorded sound. Delays of thirty to fifty milliseconds are the most common; longer delay times become ''slapback echo''. Mixing the original and delayed sounds creates an effect similar to [[doubletracking]], or [[unison]] performance.

===Slapback echo===
''Slapback echo'' uses a delay time of 60 to 250 milliseconds with little or no feedback.((efn|Increasing the feedback of a slapback effect can create a sound similar to a [[spring reverb]] effect.<ref name=":4"/>)) A slapback delay creates a ''thickening'' effect. The effect is characteristic of vocals on 1950s [[rock-n-roll]] records. In July 1954, [[Sam Phillips]] produced the first of five 78s and 45s that [[Elvis Presley]] would release on [[Sun Records]] over the next year and a half, all of which featured a novel production technique that Phillips termed ''slapback echo''.<ref>Rob Bowman. "Phillips, Sam." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Jul. 2016.</ref> The effect was produced by re-feeding the output signal from the playback head tape recorder to its record head. The physical space between heads, the speed of the tape, and the chosen volume being the main controlling factors. Analog and later digital delay machines also easily produced the effect. It is also sometimes used on instruments, particularly [[drum kit|drums]] and [[percussion instrument|percussion]].

===Flanging, chorus effect, and reverb===
((anchor|Flanging|Chorus effect|Reverb))
''[[Flanging]]'', ''[[chorus effect|chorus]]'' and ''[[reverb effect|reverb]]'' are all delay-based sound effects. With flanging and chorus, the delay time is very short and usually modulated.<ref>((cite magazine |last1=Reid |first1=Gordon |title=More Creative Synthesis With Delays |url=https://www.soundonsound.com/techniques/more-creative-synthesis-delays |magazine=[[Sound on Sound]] |date=June 2004))</ref> With reverberation, there are multiple delays and feedback so that individual echoes are blurred together, recreating the sound of an [[acoustic space]].

===Straight delay===
''Straight delay'' is used in [[sound reinforcement system]]s to compensate for the [[wave propagation|propagation of sound]] through the air.<ref>((cite web |url=https://www.prosoundweb.com/why-wait-the-where-how-why-of-delay-loudspeakers/ |title=Why Wait? The Where, How & Why Of Delay Loudspeakers |author=Mike Sokol |date=January 8, 2018 |access-date=2024-03-08))</ref> Unlike audio delay effects devices, straight delay is not mixed back in with the original signal. The delayed signal alone is sent to loudspeakers so that the speakers distant from the stage will reinforce the stage sound at the same time or slightly later than the acoustic sound from the stage. The delayed signal uses approximately 1 millisecond of straight delay per foot of air or 3 milliseconds per meter.((efn|Depending on the air temperature's effect on the [[speed of sound]]. At an air temperature of 20&nbsp;°C (68&nbsp;°F), one meter of sound travel takes 2.92 milliseconds, and one foot of sound travel takes 0.888 ms.)) Because of the [[Haas effect]], this technique allows audio engineers to use additional speaker systems placed away from the stage and still give the [[auditory illusion|illusion]] that all sound originates from the stage. The purpose is to deliver sufficient sound volume to the back of the venue without resorting to excessive sound volumes near the front.<ref>((cite web |url=https://sell.gearsupply.com/blog/speaker-delay/ |title=Speaker Delay: What You Need to Know |date=April 30, 2021 |publisher=Gearsupply |access-date=2024-03-08))</ref>

Straight delay is also used in [[audio to video synchronization]] to align sound with visual media (e.g., on TV or web broadcasting), if the visual source is delayed. Visual media can become delayed by a number of mechanisms or reasons such as [[time base correction]], [[video scaling]] and [[framebuffer]]s, in which case the associated audio must be delayed to match the visual content.

==Samples==
((Listen|filename=Echo_samples.ogg|title=Delay effect (1)|description=A short spoken passage, followed by the same passage processed using various delays))
<nowiki/>((Listen|filename=flute-delay.ogg|title=Delay effect (2)|description=A short passage on flute, before and after the application of a multi-tap, multi-channel delay|format=[[Ogg]]))

((Clear))
==See also==
* [[Analog delay line]]
* ((anl|Broadcast delay))
* [[Digital delay line]]

==Notes==
((Notelist))

==References==
((Reflist))

((Music production))
((Music technology))

[[Category:Audio effects]]
[[Category:Broadcasting]]
[[Category:Effects units]]
[[Category:Music looping]]
[[Category:Sound recording]]
[[Category:Sound reinforcement system]]

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